Amelia’s Magazine | Wood Festival 2011 Review: Sarabeth Tucek, Khaira Arby, Willy Mason, The Epstein and more!

Willy Mason at Wood Festival by Sam Parr
Willy Mason at Wood Festival by Sam Parr.

I woke to a parent discussing the merits of dressing up as a crocodile with her child, viagra buy and when I peeked my head out of the tent a man was relaxing across the way with a book emblazoned with the immortal phrase Do More Faster. Perhaps not at Wood, medications eh?

Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011. All photography by Amelia Gregory.

Wood Festival on Saturday was like those days you dream of… breezy sunshine, children running through the grass, plenty of good music. And no trouble in deciding what bands to listen to – for the very simple reason that nothing ever clashed at Wood. From the workshops to the music acts everything was timed to fit together and allow for maximum participation without boredom.

Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory

And so in the morning I was able to take my boyfriend on a mini tour of Braziers Park – a place that I have often visited with FSC camps, but which I have never really seen inside of. It’s an inspiring community founded on principles of sharing for a better world that was formed in the wake of two disastrous world wars. And it has some truly wonderful gardens, not to mention an ancient listed barn house that I am lucky enough to have called ceilidhs in.

Wood Festival 2011 Braziers Park-photography by Amelia Gregory
Wood Festival 2011 Braziers Park-photography by Amelia Gregory
Wood Festival 2011 Braziers Park-photography by Amelia Gregory
Trevor Moss and Hannah Lou at Braziers Park.

Acupuncture is something I’ve wanted to try out for ages so for a tenner I decided that Wood would be the perfect place to experience acupuncture in the ear and in the feet. It was meant to help my sore back but I think that my lifestyle, sat in front of the computer for hours every day, is going to be hard to cure in one session. Despite my boyfriend’s disparaging opinion of alternative therapies I definitely felt a bit soozed once I had the tiny pins in my ear from Abingdon based Ana at Acuabi and I’d like to try it out again.

Wood Festival 2011 Acupuncture-photography by Amelia Gregory
Acupuncture for a teddy at Acuabi.

Our first musical stop of the day was the dulcet alt country tones of Owen Tromans, joined on stage by Joe Bennett in what was to prove a bit of a common theme – one or other (or both) of the Bennett brothers taking their place on the stage with a band.

Owen Tromans Wood Festival 2011 -photography by Amelia Gregory
Owen Tromans Wood Festival 2011 -photography by Amelia Gregory
Owen Tromans Wood Festival 2011 -photography by Amelia Gregory
Joe Bennett on keys and vocals with Owen Tromans.

In the afternoon we went on a sound tour with Dan Mayfield of Enderby’s Room, who encouraged us to listen to all the sounds around us, not just the background music. He started to explore alternative sounds after moving from rural Lincolnshire to London, and he referred us to his well battered copy of Wild Soundscapes: Discovering the Voice of the Natural World, which I am very tempted to hunt down and read.

Wood Festival 2011 good Biscuits-photography by Amelia Gregory
Wood Festival 2011 good Biscuits-photography by Amelia Gregory
Good Biscuits, who helped out at Comma Shop the next week on the ACOFI Book Tour.

Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Workshops are announced.

Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory

And then we headed into the afternoon’s entertainment. In typical multi-tasking Wood Festival style the keyboardist with Co-Pilgrim was the girl who sorted out my press pass. Police Dog Hogan offered more soothing British Bluegrass sounds under canvas.

Co-Pilgrim Wood Festival 2011 photography by Amelia Gregory

Police Dog Hogan Wood Festival 2011 - photography by Amelia Gregory
Police Dog Hogan Wood Festival 2011 - photography by Amelia Gregory
Police Dog Hogan. And children skipping.

Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory

Then it was time for Sarabeth Tucek, much championed in these very pages. She sat beside her partner (apparently a very well known music producer) head bowed, slightly nervy, apparently a bit uncomfortable with performing. But as on record it was her voice and songwriting that shone through, a wonderful mix of languid folk and bittersweet lyrics.

Sarabeth Tucek Wood Festival 2011 -All photography by Amelia Gregory.
Sarabeth Tucek at Wood Festival by Sam Parr
Sarabeth Tucek at Wood Festival by Sam Parr.

Uiscedwr, pronounced Ish-Ca-Door, were at pains to explain their strange name, which means water in both Welsh and Irish. Badges bearing the explanation ensured a pint sized riot as the younger members of the crowd deluged the stage. The bouncy lead singer was very engaging and a brilliant fiddler who soon got the sleepy afternoon crowd bouncing along.

Uiscedwr Wood Festival 2011 -All photography by Amelia Gregory.

Wood Festival 2011 -Truck Monster
Wood Festival 2011 Cari Steel Robin Bennett -All photography by Amelia Gregory.
The Truck Monster proves a great distraction to everyone, including former Amelia’s Magazine music editor Cari Steel.

Wood Festival 2011 Cari Steel Robin Bennett -All photography by Amelia Gregory.
Cari Steel chatting with festival organiser Robin Bennett.

Khaira Arby is not exactly a sprightly young thing but in her gold medallion encrusted headdress she was certainly giving it some as she shook to the Afrobeat sounds. One of the festival highlights for many if the party mood of the Saturday night crowd was anything to go by. Impressive!

Khaira Arby Wood Festival 2011 -All photography by Amelia Gregory.
Khaira Arby Wood Festival 2011 -All photography by Amelia Gregory.
Khaira Arby Wood Festival 2011 -All photography by Amelia Gregory.
Khaira Arby at Wood Festival 2011 by Sam Parr
Khaira Arby at Wood Festival 2011 by Sam Parr.

Then it was straight on over to the Tree Tent to hear Amelia’s Magazine favourite Trevor Moss and Hannah Lou, who gave us an assured set of new songs from their new album Quality First, Last & Forever! Their harmonies may be deceptively simple but the way that Hannah’s voice occasionally curls over the top of Trevor’s falsetto is really quite special.

Trevor Moss Hannah Lou Wood Festival 2011

Headliner Willy Mason then took to the stage in his jeans and braces, dusky orange shirt tucked in. Despite his laid back demeanour this was a crowd pleasing set from a very confident young man, who is clearly happy with his lot as underground folk festival pleasing favourite. You can read a great write up of Wood Festival on Green Wedge, which features a soundcloud interview with Willy Mason about offshore wind turbines in New England. Love it.

Willy Mason Wood Festival 2011 -Willy Mason Wood Festival 2011 All photography by Amelia Gregory.
Willy Mason Wood Festival 2011 -Willy Mason Wood Festival 2011 All photography by Amelia Gregory.
Willy Mason Wood Festival 2011 Robin Bennett-All photography by Amelia Gregory.
Robin Bennett playing with Willy Mason.

Back on over at Tree we finished off Saturday with The Epstein, whose keyboardist managed to freak every single member of my group out with his somewhat spooky stare. Granted this might have been because we were all lounging around on the ground in a rather sleepy way when he might have preferred us to be hopping to the beat, but no matter what, it was a lovely way to end a lovely day at Wood.

The Epstein Wood Festival 2011 All photography by Amelia Gregory.
The Epstein Wood Festival 2011 All photography by Amelia Gregory.
The Epstein.

Make sure you also read my review of Friday’s bands at Wood Festival here. I’ll leave you with a great video from The Epstein:

YouTube Preview Image

Categories ,Acuabi, ,Acupuncture, ,afrobeat, ,Bluegrass, ,Brazier’s Park, ,Cari Steel, ,Dan Mayfield, ,Do More Faster, ,Enderby’s Room, ,festival, ,folk, ,FSC, ,Green Wedge, ,Harmonies, ,Ish-Ca-Door, ,Joe Bennett, ,Khaira Arby, ,Last & Forever!, ,Lincolnshire, ,New England, ,Offshore, ,Owen Tromans, ,Police Dog Hogan, ,Quality First, ,Robin Bennett, ,Sam Parr, ,Sarabeth Tucek, ,Saturday, ,sustainable, ,The Epstein, ,Tree Tent, ,Trevor Moss and Hannah-Lou, ,Truck Monster, ,Uiscedwr, ,Wild Soundscapes: Discovering the Voice of the Natural World, ,Willy Mason, ,Wind Turbines, ,Wood Festival, ,Wood Stage

Similar Posts:

Amelia’s Magazine | An interview with First Aid Kit about working with Mike Mogis on second album The Lion’s Roar

First Aid Kit by Michael Julings
First Aid Kit by Michael Julings.

The new album The Lion’s Roar from the wondrous Swedish band First Aid Kit is coming out later this month. In advance of my review, let’s catch up with the talented duo. Life has become much more busy in the past few years!

First Aid Kit Emmylou press shot
You’ve done 5 tours across America in the past 2 years, what has been the highlight?
All five tours have been highlights in their own ways. The first tour was especially exciting because everything was new and it felt like an adventure. We realized how big this country is, traveling through endless landscapes of of deserts, fields and forests. We sort of felt like we were on that epic american road-trip we’ve always dreamt of. Last September we went on tour with Bright Eyes, a dream come true for us. We got to spend two weeks with our favorite band. We went to Disney World, we went swimming in the ocean and sightseeing in D.C. We had plenty of free time and the weather was amazing. It was the perfect tour. Bright Eyes treated us so well, too. Every night was a party. Every night we played songs together. Mike Mogis played pedal steel on our song Emmylou, we sang Lua with Conor and two nights our dad even played the guitar solo in their song “One for you, one for me”! We couldn’t have imagined our own dad playing with Bright Eyes someday. We were very proud.

Your new album The Lion’s Roar is out soon and was recorded in Omaha, Nebraska with producer Mike Mogis – how did that come about, how long were you there for and how easy was it to slot into working with a big American producer?
When I (Klara) was twelve years old I heard Bright Eyes for the first time. I loved the simplicity and honesty in their songs. Their music was a revelation for me. It opened up the door for us to folk and country music. I got a guitar pretty quickly after that. Inspired by Bright Eyes I started writing songs. We met Mike for the first time when we played in Austin, TX in october. Conor Oberst came to our show, and introduced us to Mike. He saw us the next day at the Austin City Limits festival and after we had played he wrote us saying; ‘I’d love to make a record with you.’ We couldn’t believe it.

First Aid Kit by Rosemary Cunningham
First Aid Kit by Rosemary Cunningham.

In May we went to Omaha, Nebraska to record the album. We stayed for a month, spending the first two weeks doing mostly live takes and then the rest of the two mixing the record. Working with a big American producer could be scary depending on who you work with, but Mike might be one of the most humble persons we have ever met. We understood each other from the get-go and we were on the same page musically. He knew what kind of record we wanted to make. Mike made sure that our vocals and lyrics always were the focal point. We worked together to find arrangements that would enhance the emotions we wanted to evoke, and not to just take up space. It was a fun and surprisingly easy process. 

First Aid Kit on log
What has been the most memorable place that you have visited on tour (worldwide) and why?
We were in Tokyo just a couple of weeks ago and that was memorable to say the least. The culture is so vastly different. We felt a bit alienated and different (mostly just very tall), but it was an interesting feeling we’re not used to. The Japanese were incredibly polite. When we stepped into our label’s office everybody there came to meet us and bowed in-front of us. It made you feel respected and made us treat everyone with the same respect. We did 22 interviews in two days so we were quite busy, but they took care of us well. We would love to go back to Japan and play shows there someday soon.

First Aid Kit by Sam Parr
First Aid Kit by Sam Parr.

Have you managed to retain contact with your friends back home in Sweden or do you feel your lives have diverged drastically? How much do you rely on a close sisterly relationship?
Luckily we have friends who understand why we have to be away so much and who are supportive of what we do. Of course it’s hard sometimes, not being able to be there for the people you love, but that’s a sacrifice we have to make. Having your sister around you is quite special. It always makes us feel like we’re home, having each other around. Our dad does the sound our shows, so he comes with us too. That keeps us from becoming too homesick. At the end of the day we get to do what we love the most, which is playing music, so we can’t really complain.

First Aid Kit by Geiko Louve.

Do you remember the first time you sang in harmony, when was it? It must be incredible to have such a strong connection with someone you grew up with.
It was probably on one of our first demos, Johanna just tried out some harmonies and it sounded great. We have evolved a lot from back then though. We’re getting better and better at harmonizing everyday. Singing with your sister is awesome. Our voices are so similar it’s almost like singing with yourself. It’s easy. We’re so in tune with how we phrase and time words, so it always feels very natural. Singing with a non-relative is more of a challenge. You have to adjust to their way of singing and ‘get’ their voice. It’s not the same thing.

First Aid Kit forest
You recorded the cover single Universal Soldier with Jack White in Nashville and you have just toured with Lykke Li. How did these come about and who else would you like to work with?
We have no idea of how these cool cats heard of us, we’re just very lucky that they did. Lykke Li had asked us a couple of times to play and last november we finally got to play together. It was amazing to see her powerful performance on stage every night.

First Aid Kit_Emmylou_PS
When we were on our second tour in the US, playing in Nashville Jack White called to say he wanted us to come into his studio and record two songs with him. Totally unexpected. We spent a couple of hours there the next day. It was the first time we ever recorded in a real studio with a full band. We love what we recorded, especially the traditional blues song It Hurts Me Too. Jack White brought out something new in us we didn’t know we had. It definitely has a Jack White sound but it’s still very much us. It inspired us to have a full band on the new record. We’d love to do something more with Jack White someday, it was really inspiring working with him and we both share a love for old Americana. We would also love to collaborate with Laura Marling or Dylan Leblanc, two amazing songwriters and singers in our age who are making similar music.

First Aid Kit by Wiji Lacsamana
First Aid Kit by Wiji Lacsamana.

Your voices and musical knowledge have been widening, who or what has been the greatest influence in the past two years and do you have your sights set on any other genres and styles?
The past two years, while writing for this new record there are two people that specifically come to mind when talking about inspiration – Townes Van Zandt and Joni Mitchell. Townes Van Zandt has a way of writing songs that seem timeless. His songs are often tall tales, mystical but at the same time serene and simple. His phrasing is really specific and it gives the lyrics another dimension. Writing for the record, these were all things that influenced us, both things we were aware of and things we’ve heard, listening back to the record, now.

First Aid Kit_portrait
We got a little Joni obsessed when working on this record. Her lyrics are often like private diary entries, if everybody wrote amazingly poetic and clever diary entires, that is. There is something so honest, it almost hurts to listen to her music sometimes. For The Lion’s Roar, we knew we wanted to write songs that had a more personal touch. We wrote more about our own experiences and things we were going through. A lot of people write that our lyrics are ‘too mature‘ for our age, which is so absurd to us. We just write what we feel, we’ve never had any intention to sound older or more mature, we’re just ourselves in our music. We’re actually not very mature at all, haha.

You have said that you prefer to sing sad songs: why do you think this is?
It’s not really a preference, it just that we happen to write songs when we’re sad. Songwriting for us is a form of therapy, of catharsis. It’s a way of turning the negative thoughts in our head into something positive and creative. When we’re feeling like shit we listen to melancholy music, because knowing that someone else has felt the same way or even worse makes us feel less alone in these emotions. It’s strangely comforting. Hopefully our music could have a similar kind of effect for our listeners. Like a plaster for the soul.

YouTube Preview ImageEmmylou

What was the story behind the video for the new single Emmylou? It has a glorious outback feel that goes with the country twang.
Thank you! The song Emmylou is a homage to our favourite country acts – Emmylou Harris, Gram Parsons, Johnny Cash and June Carter. It seemed perfect to go to Joshua Tree because we knew it was Gram Parsons‘ favourite place in the world. When we got there we understood why. We’ve also always been intrigued by the desert and had always wanted to make something in that kind of landscape, so now we got the chance. We worked with an amazing director called Maximilla Lukacs. We wanted it to have a 70′s psychedelic dreamy feel to it. She and her team totally got our vision. 

YouTube Preview ImageThe Lion’s Roar

Where can people see you live in the UK over 2012? Any particular dates or festivals that you are looking forward to?
We’ll be playing a few club shows in February. We can’t wait to play the new songs! We’ll also play the End of The Road Festival this year, which we’re totally psyched about. We love that festival. We played there 2009 and it had an incredible folk-oriented line-up. We saw Alela Diane, Blitzen Trapper, Tallest Man On Earth and FleetFoxes. In other words, our favourite bands. Good times! 

First Aid Kit by Estelle Morris
First Aid Kit by Estelle Morris.

Lastly, since we last met I have discovered that your dad used to play in a band with my mum’s Swedish first cousin, Matts Alsberg. It’s a small world, do you remember him?
Oh my god! That’s so weird, haha. It’s a tiny world, indeed. Of course we remember him, our dad’s band was a big part of our childhood. They were called Lolita Pop and were quite successful in Sweden during the 80′s. Their music was not like ours at all. It was punk and new wave inspired by Velvet Underground, Patti Smith and Television. Our dad was a guitarist and songwriter in the band. He quit the band just when we were born. Their music and tales from their tours were always around us growing up. I think we looked up to our father a lot and the fact that he had been a professional musician inspired us to take a similar path. Now dad’s working with us full time and it’s great having someone with so much previous experience on the road with us. He probably never thought he’d be touring all over the world with his daughters.

The Lion’s Roar is released on 23rd January on Wichita. *You can read my full album review here.*

Categories ,Alela Diane, ,Austin City Limits, ,Blitzen Trapper, ,Bright Eyes, ,Conor Oberst, ,Dylan LeBlanc, ,Emmylou Harris, ,End Of The Road Festival, ,Estelle Morris, ,First Aid Kit, ,fleetfoxes, ,Geiko Louve, ,Gram Parsons, ,It Hurts Me Too, ,Jack White, ,Johnny Cash, ,Joni Mitchell, ,Joshua Tree, ,June Carter, ,Laura Marling, ,Lolita Pop, ,Lykke Li, ,Matts Alsberg, ,Maximilla Lukacs, ,Michael Julings, ,Mike Mogis, ,Nebraska, ,Omaha, ,Rosemary Cunningham, ,Sam Parr, ,Tallest Man On Earth, ,Townes van Zandt, ,Wichita, ,Wiji Lacsamana

Similar Posts:

Amelia’s Magazine | The Virgins, at Club fandango

We adore this talented Central Saint Martins graduate Anna Garforth. With a degree in Graphic Design, click medicine ethical ideas are high on the agenda of this green fingered creative.






Employing all things leafy and grassy, sildenafil more about a self-initiated project utilising recycled milk bottles as plant containers has been displayed around urban areas which need a bit of earthy decoration. Entitled Head Gardener, decease these invented characters were used by Garforth to spur on our future Little Gardener‘s sowing seeds of herbs and flowers.


A bit of a horticultural wizard, Anna has been growing moss for years. With the influence of guerilla gardening and landscape artist Andy Goldsworthy, Anna is currently working on a collection of work which explores street art and public space. By attaching moss to walls using biodegradable materials, Anna has selected verses of a poem by friend Eleanor Stevens. The first installation of the poem reads “in this spore borne air” and will be followed up in a different spot with “watch your skin peel.” There will be a total of four quotes dotted around central London so keep your eyes peeled.




Oh and, the recipe for green graffiti couldn’t be simpler… a bit of yoghurt, sugar, a few clumps of moss and your own ideology so lets all have a go!
I picked my breakfast on my way out of the house at 6am to catch my plane to India, medical for I have physalis fruit growing right next to my front door – clearly the result of some pips that had earlier got into my compost.

physalis fruit next to my front door

The train was slow, site as always, visit this site excited only by a lone moth escaping from my bag and dancing nervously through the air – how the hell do I have so many moths? It’s like a moth invasion round my house I tells ya. They get everywhere, even onto the Picadilly line.

The plane was nearly empty – good for lying down across three seats, not so good for my conscience – god what a waste of fuel. I arrived in India at about midnight and like clockwork driver Sanjay located me and whisked me out past a depressingly large new airport (ten times the size of the present one) that is being built to accommodate the expected increase in traffic for the Commonwealth Games in 2010. We were soon engaged in a passionate conversation about the state of our planet – it’s so nice to meet people who feel the same way as me anywhere in the world.

I am staying at Shanti Home, which is a small family run hotel on the outskirts of New Delhi – on arrival I was greeted by the traditional flower garland and then shown up to my lovely little room. The cupboard is in the bathroom and the view isn’t up to much but the people are super friendly and the breakfasts are on a rooftop terrace.

my room at Shanti Home

This morning I breakfasted alone. Just me, up there on that big ol’ roof terrace. Which meant muchos personal attention from the lovely Nepali waiters – there are a lot of Nepalis here. Then Ajay from Laxya models turned up mid morning to take me back to his office. He was initially a bit prickly; I guess he wasn’t sure who the hell I was but then who would blame him – here I come, demanding free models and not even looking the glamourous magazine editor part. What a swindle! But he soon forgave me as the big grin shows and delighted in giving me a whistlestop guided tour of Delhi (drop the New, that’s not the done thing here) which took in the parliament buildings and India archway – celebrating all the Indian soldiers who gave their lives for the British – and finished at the Baha’i house of worship – a wonderful looking all religions building.

Ajay. I think he likes me now.


arch for the soldiers

I wish I was a small boy who could strip off and dive into a pond, maybe

The dude who built the temple believed there should be total equality for men and women and that all religions should unite for world peace – what a guy. Ajay had sufficiently warmed to me that he even bought me a little souvenir keyring – I was very touched.

families make their way up to the Baha’i temple

I prefer this version, on a poster

Wow! what a dude! check out his t-shirt! It rocks!

We finally made it to the Laxya offices, where several men were lounging around on their laptops, (well, not literally, you know what I mean) discussing a shoot.

a very well respected set designer – the presents behind are props

model offices, new delhi style

I only realised much later that one of them was actually the boss, once he left. Woops. Again, Nepali boys (although apparently not, they just look young) attended to me – but soon gave up with my requests for a not too sweet chai and bought me instead an Earl Grey teabag – seems the easiest option for those picky english!

notice the cunningly overturned teabag. maybe I won’t realise it is not chai til it’s too late

We saw lots of cute girls, met a fashion designer who totally sorted me out with my plans, and ate some yummy food that was hand delivered into the basement, which hummed with the constant banging of non-stop construction. My eyes hurt even inside the building, and my throat is a mess already. A new metro needs to be finished in time for the Commonwealth Games and the dust is excruciating.

food, proper indian food – they offered me a Subway! get away with you!

construction is everywhere

a hazy construction sunset

After a great interview with one of the artists we have been in contact with I fell asleep in the car (courtesy of Ajay) on the way home. Tomorrow I have three fashion shoots, bring ‘em on…
The words ‘bargain, ed designer and ethical’ aren’t used nearly enough in the same sentence. Wouldn’t it be great if we didn’t have to save up for the latest ‘it’ bags? And if only our quest for them were guilt free! Banishing the mad dash past street fundraisers while mumbling shamefully, purchase ‘I’m late!’ before rushing excitedly into Dolce and Gabbana.

Well girls, the answer is here and let me tell you, your bank manager will be pleased!
The organisation ‘Whatever It Takes‘, runs charitable projects worldwide and has already raised around $1,500,000 (many, many designer bags worth of cash).
Taking on the world of celebrity endorsement and fashion, ‘Whatever It Takes’ asked over 600 celebrities to donate their own works of art to be incorporated into a range of products including tableware, cosmetics, clothing and most importantly ladies ‘bags’!

Stella McCartney

These totes and shoulder bags feature work by some of fashion’s biggest names; so whether you have a thing for Paul Smith, or are dying to get your hands on anything McQueen, then you’re in luck.

Paul Smith


With prices ranging from £10 – £15, even the most spend thrift shopper can join in, and while they may not have the leather and stud trappings of the super brand bags, these cute print canvas pieces make great everyday ‘shoppers’; spacious enough to carry all your bits and pieces, a celeb tote is a must have this season. As if a designer bag at £15 wasn’t enough encouragement, each bag sold will help raise funds for charities such as ‘The 21st Century Leaders Foundation‘, who work to tackle key global development causes including poverty alleviation, environmental conservation and the protection of children.

So ladies, this time you really say that this purchase will change the world!
Now, the Alexander McQueen or Paul Smith tote? At such a great price, maybe I’ll get both!

All of the bags will be available on the website by the end of the month.

Giorgio Armani

Giorgio Armani

Stella McCartney

The Dulwich Picture Gallery has teamed up with the House of Illustration in anticipation of its opening, link inviting 45 figures in the public eye to participate in the Victorian parlour game ‘What are you like?‘ The game involved players depicting their personality by drawing what best describes them; their favourite pastime, more about food, visit place, possession and so on. I know; just wild those Victorians were!

The trek out to Dulwich for the private view was well worth it though, the diversity, humour and imagination of each piece really shone, and made you realise how illustration is often overlooked as an artform. The House of Illustration currently has no actual house, but is aiming to create a permanent home in the King’s Cross regeneration area by 2011. As Lord Christopher Frayling pointed out; ‘At present-and this is amazing-there’s no non-commercial gallery in the entire British Isles to be devoted entirely to illustration. Its as if there’s this invisible hierarchy within the arts…all very old-fashioned and not helpful.’

The brainchild of illustrator Quentin Blake, the House of Illustration has high hopes; aiming to ‘put illustration centre stage and give it the attention it deserves’. This is pretty exciting for us here at Amelia’s, where we’ve long been championing up and coming illustrators. This exhibition certainly sets the House of to a fine start, with contributors varying from professional illustrators like Quentin himself, Shirley Hughes and Michael Foreman, to musicians, writers and TV personalities for whom art is just a hobby. Philip Pullman, Andrew Marr, Eric Clapton and Jack Penate are just a few of the household names who have put pen to paper.


Baths and bed crop up with reliable regularity as favourite places and comforts, cats and bicycles are also extremely popular, but otherwise each creation is completely unique; some incorporating photographs and collages, with designer Paul Smith presenting his in a stunning vintage scrapbook. David Shrigley, however, steals the show, with his fantastic insight into the mind of someone with a fetish for serpents: favourite animal: snakes, favourite weather: snakes, favourite place: snake pit. Genius.

There are 50 limited edition prints of each piece on sale for £200; a wise art investment if ever I saw one, proven by the fact that even mid credit-crunch, they were selling like crazy Tuesday night. If you’re lucky, you might still be able to grab one though. Alternatively, enter the House of Illustration competition by creating your own ‘What are you like’, the winning entry will be hung in the Dulwich Picture Gallery.For more details see the website.



I first came across Tony Cox about nine years ago, viagra buy at the Hogsback Festival in South Africa. I was 15 years old, cialis 40mg and my appreciation of music extended to the top 40 chart and not much else. I’d been brought up on The Mamas and The Papas and Eric Clapton, however, and had a father who insisted on educating me on ‘decent’ music such as Jimi Hendrix and The Who. So I still had an appreciation for good guitarists and also, growing up in South Africa, traditional African music.

Tony on this occasion, played with fellow guitar genius, Steve Newman, and although I don’t remember the performance in detail, I do remember enjoying it immensely. So when I heard that Tony had now emmigrated to the UK and was performing his first gig in Putney, I rushed to book tickets.


The Half Moon is an excellent local pub and also has a brilliant, intimate venue for gigs. Tony was different to how I remembered him – greyer and perhaps a little portlier – but as soon as he began to play I was transported back to my homeland and the night I first heard him play.

With perhaps the exception of Clapton, I have never had the opportunity to see a live performance laden with so much skill and passion. Each composition tells it’s own story beautifully and while distinctly African, this beautiful folk music appeals to all.

But what I found most special about the gig was that it was not only an evening of music, but an insight into an African world. Tony punctuates each tune with an anecdote revealing some aspect of his life in Southern Africa – making the show just that bit more special.

Keep an ear out for him at festivals in the coming year – and in the meantime, his gigs are listed on his MySpace page.


The Dublin Castle is a cool venue, no rx and Club Fandango is a cool night, I once saw Pete Doherty and Carl Barat just hanging out there, whats that you say? Ow? ive dropped a couple names on your foot? sorry, i’m dreadfully sorry, there will be no more of that, have no fear. However their prior presence in this place feels relevant tonight, as now these indie people here aren’t sure what to do with themselves, they are confused, they thought they were cool, then nu-rave took over, now that is so far from cool that anyone in a slogan tee with a luminous jacket risks being spat on in certain parts of town. The answer for most of the indie bands i’ve seen recently and certainly the support band at this gig seems to be to add an electronicish keyboard player to their boring indie set. Uncertainty reins at the moment, and we need something genuine to put all these confused followers of fashion straight. Sadly I don’t think the Virgins are it. Although the live sound of their lazy lyrics is really striking.
I swiftly noticed that every member of the band had rolled their jeans up, how very peculiar i thought, was it a conscious descision? I wonder which of them though it was a good idea? which of them told all the others to do it? and whether any of them feel like prats?
The Virgins formed in New York in 2005, and their songs contain more than passing similarities to the Strokes, do we really need more Strokes in the world of new music? one song is a little ska tinged. They are really catchy, the room was full up, everyone was enjoying themselves, but I am not quite convinced, then i realise why, its the element of Razorlight about them, those same kind of self satisfying lyrics that actually make no sense but are sung by someone who loves the sound of their own voice.

Lyrics about New York, girls and cocaine just don’t really do it for me, the Virgins’ sound is well put together, their performance is tight, its loud in the right places, there are bouncy riffs in the right places, its even funky in the right places, they are completely radio friendly. Its difficult to dislike, but not for me as the songs don’t contain any real meaning or depth and i almost feel like i have heard them before!

I have decided to end this review with a quote from Grandpa Simpson, “I used to be with it, then they changed what ‘it’ was and now ‘it’ seems weird and scary to me.”

Similar Posts:

Amelia’s Magazine | Kitsune 8 – An Album Review

kitsune 8

We live in a haphazard world, ailment where one minute we can all feel like grotesque, all-consuming fat cats with an incredibly strong pound to suddenly joining the back of the JSA queue, lying to them about how many job interviews you’ve actually been to. There is a sprinkling of certainties in life that we can rely on however. For example, come daylight savings rollback when we are plunged into mid-afternoon darkness we know we are destined for up to six months of generally feeling a bit less enthused about our lives, especially when the Christmas decorations start to attack our high streets. Another is, when the latest compilation by Parisian cool label, Kitsune lands in your inbox – because let’s face it, we can’t rely on Royal Mail, so we may as well go digital – you know that you have yourself a ready-made electro-infused indie disco. Not of the ilk that plays Ash’s Girl From Mars on repeat either, the kind of soiree filled to the warehouse rafters with really stylish and beautiful people.

The French success story of a label has already discovered far too many ipod staples and festival headliners to mention here. Now on it’s eighth compilation, the chic and nice issue, Amelia’s Magazine would like to toast their brilliance. It’s almost like the release is named after us – chic and nice!

la roux kitsune

Like associations with Moshi Moshi or Ed Banger, the Kitsune seal of approval is big news. If you are in a band, when a sketch of your face plasters one of their record sleeves, you know your stock is on the rise. They possess the skill to bring songs that you had resigned to the mainstream, back into a respectable feature on your playlist. Think the red haired one. Think Phoenix. The French label makes chart tracks cool again and discover obscure myspace fodder that you simply haven’t got the time or patience for, then give it that fairy dust magic they do best.

the drums

With chic and nice, Kitsune unearth a fair few goodies I’d previously been ignoring as yet another new band of the day. Such as The Drums, which quite frankly, I’d decided was twee drivel, but a few spins in the Kitsune context, and you know what? I like it!

chew lips

The fabulously wailing track by Chew Lips has been given a helping hand to the dance floor by Franz Ferdinand’s, Alex Kapranos. It’s nice to know he’s good for something in their “hit” hiatus.


A glorious track by Two Doors Cinema Club, who we chatted to yesterday, has its melodic vocals and soaring guitars messed with (in a good way) by the remixing talents of Moulinex. These chaps feature alongside fellow chic and nice entrants, Delphic, on a tour trying to encapsulate all that is good about the Kitsune brand with a live setting.

You’re not too late to catch the indie disco train, the tour lands in London this Saturday, stopping at Bristol, Nottingham and Birmingham along its tracks. Although, We’re not sure this hyperbole of a party can actually be achieved. No one actually has that many attractive and cool friends do they? Best get a copy of Kitsune 8 and let the indie disco come to you. You’re guaranteed a good time.

Check out the promo accompanying the package, it is well worth an ogle:

Amelia’s Magazine invites you to make your own dressing battle film and send it to us in a SAE. Although, given the aforementioned postal issue, you probably better off sending via email. Come to think of it, you may want to hold off until the summer months, when it’ll be warmer and you have your motivation back.

This compilation hits the digital (and other) shelves November 30th.

Categories ,album, ,Chew Lips, ,delphic, ,kitsuné, ,La Roux, ,london, ,paris, ,phoenix, ,the drums, ,Two Door Cinema Club

Similar Posts:

Amelia’s Magazine | An interview with The Miserable Rich about their spooky new album Miss You In The Days

The Miserable Rich by Kathryn Corlett
The Miserable Rich by Kathryn Corlett.

Miss You in the Days is the new album from The Miserable Rich, a fabulous collection of songs inspired by ghosts, ghouls… and possession. In other words, the perfect musical accompaniment for Halloween and beyond. I got in touch with lead singer James De Malplaquet to find out what inspired this theatrical tour de force.

The Miserable Rich bed
Why do you think your music is referred to as Chamber Pop and is there anything else you would prefer to be called or that you use to describe yourselves better?
It would seem a little churlish to deny that there are both pop and chamber music elements to our music – but the term ‘chamber pop’ is just one consonant away from ‘chamber pot’ – a little too close for comfort in my humble…. We certainly use some traditional chamber music instruments – violin, cello, double bass, that kind of thing. I’m told the idea of chamber music was that it went against the tyranny of the orchestral hall – it was music that could be played anywhere, in any room, or chamber. We certainly fit in with that, having played in all kinds of places from churches to parks, palaces to (I ‘kid’ you not) creches.

Taking the songs Pisshead, Hungover and Chestnut Sunday (about cocaine addiction), and our propensity for liquor, we started off calling it ‘bar-room chamber music’ – but that didn’t really fit with the song for my mother (I hope). We do think there’s a bit of intensity in the music and the lyrical subject matter though – a bit of fire in the belly – and so we’re toying with ‘fiery chamber music for (song) lovers’ at the mo. There’ll probably be a new one in a month or two, mind.

Miss You In The Days cover
Who inspires you musically – I think there’s a definite jaunt to your music that calls to mind the theatrical big band festival scene. Has this been a factor in your development?
I think you’re right; there is indeed a certain theatrical flourish to what we do. Not that we planned it – and apart from my soft spot for Kate Bush, Grace Jones and Peter Gabriel, it’s not really there in the bands that we like – Will loves Loney Dear, for example – hardly known for his overblown music or stage shows….. I don’t know – I guess it just sort of came out that way. I do remember talking to the band before some of our first shows and agreeing that it didn’t matter if we hit a few bum notes, as long as we put emotion into the playing. It’s probably ramping the emotion up that gives it this element of theatre. We might play one or two less bum notes nowadays (we might not), but we still try to maintain that level of intensity.On the other hand, it might just be because we’re an incorrigible bunch of drama queens, completely divorced from reality. Sounds much more fun that way.

The Miserable Rich by Beth Crowley
The Miserable Rich by Beth Crowley.

How big is the current incarnation of your band – and who plays all the different instruments?
We’ve always been a five piece, with Will Calderbank on cello and occasional piano, Mike Siddell on violin and Rhys Lovell on double bass. This is the first time Ricky Pritchard has joined us on guitar and piano, and we added a drummer (!) this time round. Last album, we made a rule that we all had to play at least two instruments and sing on the album, so we shared the drumming, but on this album we got a real live drummer – David ‘Badlace’ Schechtriemen – to pitch in and help out. Myself, I used to play bits of piano, guitar, percussion and mandolin on the records, but they’ve gradually wrestled all the toys off me and made it clear I should just stick to singing….. Spoil sports.

Your album Miss You in the Days is described as “a collection of witty mischievous ghost stories” and is being released on Halloween. Have you always been fans of the otherworldly and the paranormal, and how or why did this love come about?
It was just one of those •spooky• coincidences, really. If we were going to record another album, I wanted us to go away and have an adventure – and so I came up with this idea of going to a haunted house and writing an album based on ghost stories. I’d noticed that we English – myself in particular – found it difficult to write about sex and death, and I thought this might be a good way of exorcising those particular lyrical demons. After I’d sold the idea to the band, I started reading only ghost stores and went around on tours in the UK and Europe, telling anyone who’d listen our plan, hoping someone would say ‘Come record at my house – it’s haunted as hell‘. In the end, a friend who had offered her haunted attic suddenly ‘remembered’ she was living next to Britain’s most haunted stately home, the Jacobean Palace of Blickling Hall – birthplace of Anne Boleyn. Introductions were sought, deals were cut with the National Trust, and off we went, hope in our hearts and ghouls in our heads.

Two rough diamonds from The Miserable Rich by Rhiannon Ladd
Two rough diamonds from The Miserable Rich by Rhiannon Ladd.

You recorded parts of the album in the haunted Blickling Hall – any good stories from this period? Mysterious creaks, ghost sightings – or were the stories of the place enough to work on your imaginations? 
Blickling is an amazing place, incredibly beautiful and evocative. Visiting its lonely windswept and tree-lined roads on our first visit, seeing the palace loom out of the darkness, it was easy to imagine people losing their wits in the deep dark Winters. Perhaps we did ourselves. David said he saw faces at the window on more than one occasion, the mics kept picking up German voices, and though the caretaker once told us in thick Glaswegian tones ‘The only spirits you’ll find here are whiskey, vodka and gin‘, Ricky and our manager Howard will tell you something very different about the unexplained voice they recorded late one Friday night in the West Turret Bedroom…….

Anything’s Possible

Anything’s Possible cover art by illustrator Stanley Chow.

How does the erotic element of the album present itself, and which songs is this felt in the most?
I had been thinking about how the word ‘possession’ is both a supernatural and a sexual term. We hope to possess or be possessed by our lovers, or by the act of lovemaking. I’d also been mulling a little playfully on the meaning of words like ‘moaning’ and ‘groaning’. If you hear someone moaning in an old, empty house, say, you might draw very different conclusions to those you might on hearing the same sound through a hotel room wall. These ideas, and the idea of ‘love across beyond the grave‘ are suggested in the songs Laid Up In Lavender, On A Certain Night, Honesty and True Love – but I hope it’s not too heavy-handed.

YouTube Preview Image

What is going on in On a Certain Night? The lyrics sound quite stalkerish… who or what inspired this tune, and whose house was the lucky venue for the video? 
My first love was possessed. Many may believe this of their own experience, but in my case, these were her own words. She told me that a bright shiny light would enter the room, enter her body (as I hoped to do myself, but in quite a different way), and tell her what to do. I wasn’t sure if I believed her, or if I thought it a brilliant and elaborate method of getting out of responsibility for one’s actions…. When we started writing the album, many years later, I remembered the story and thought I’d write a slightly disturbing pop song from the perspective of this possessing spirit. There may be a little revenge in this – he is quite a lascivious devil, isn’t he? As for the video, it was all shot in one night, after hours in our new favourite Brighton pub, The Chequer Inn, run by a lovely and accommodating couple who had come up to me in various other pubs and told me they loved the band, and once memorably giving me a packet of twiglets.

On a certain night cover
Some pretty nightmarish make up featured in the video too. Do you have any special plans for this Halloween and what will you be dressing up as?
Hideous, isn’t it? That’s what happens if I don’t have time to properly put my face on before going out……. At least it ensures the video doesn’t look like Losing My Religion…. Yes, there will indeed be a bit of dressing up – and for this tour we’ll be playing in some churches, crypts, castles and even palaces, so anyone who gets into the ‘spirit’ of the nights will get a special ‘ghost hour’ radio mix I’ve made. I think we’re going to be imprinting a lot of memories on this tour….

YouTube Preview ImageHungover

The new single On A Certain Night is out on 24th October and the album Miss You in the Days is out, fittingly, on 31st October. Both on Humble Soul. Not to be missed. Check out The Miserable Rich soon! There are a few free tracks to download on Facebook here.

Categories ,album, ,Anything’s Possible, ,Beth Crowley, ,brighton, ,Chamber Pop, ,David ‘Badlace’ Schechtriemen, ,Dramatic, ,gothic, ,Hallowe’en, ,Humble Soul, ,Hungover, ,interview, ,James De Malplaquet, ,Kathryn Corlett, ,Mike Siddell, ,Possession, ,pub, ,review, ,Rhiannon Ladd, ,Rhys Lovell, ,Spooky, ,Stanley Chow, ,The Chequer Inn, ,The Chequers, ,The Miserable Rich, ,Theatrical, ,Will Calderbank

Similar Posts:

Amelia’s Magazine | Album review and interview – Mechanical Bride: Living With Ants

Mechanical Bride by Sam Parr
Mechanical Bride by Sam Parr.

Her debut album came out a few weeks ago and she’s been busy promoting it since then, adiposity but I’ve finally managed to secure an interview with Lauren Doss, shop better known as Mechanical Bride. At the root of Living With Ants is Lauren’s piano… sometimes dissonant, see sometimes mournful but always spare and well considered. The nuances of jazz and classical music are a welcome addition to this hauntingly beautiful collection of songs. Mechanical Bride will be performing live at Truck Festival in just a few short weeks and in the meantime you can hunt out Living With Ants on the excellent Transgressive label. Well worth it.

Mechanical Bride Living with Ants

You pretty much taught yourself the piano. Have you tried your hand at any other instruments, or are you tempted to learn anything else at some point, if so what?
I try my hand at a few other instruments, guitar and tuned percussion. But I’d really love to learn to play the cello, it’s such a beautiful instrument.

Mechanical Bride by Avril Kelly
Mechanical Bride by Avril Kelly.
What kind of music did your parents play when you were little? Any particular fond memories?
There was some great 80’s/early 90’s music my mum used to play that I remember well from cassettes in the car – Bruce Hornsby, Don Henley, that’s nostalgic of my childhood. My mum bought me Jackie Wilson’s Reet Petite on 7” as I loved it so much when I was little.

YouTube Preview ImageReet Petite
How did you hook up with Tommy who plays jazz piano on your album?
Tommy is my good friend and a great musician; we met whilst studying our Music and Visual Art course in Brighton. 
Mechanical Bride by Faye West
Mechanical Bride by Faye West.

What is the spiritual aspect of your inspiration?
I’ve learnt a lot from my upbringing, people and loss through the last few years. I’ve learnt how important the art of overcoming is, and to have faith things will work out, trying to think positively and being patient. I also think about certain people that I’ve lost in my life and I like to think they look out for me and I have their strength and blessing.

Mechanical-Bride_by_Alison Day
Mechanical Bride by Alison Day.
How do music and art fit together in your life?
I love the feeling of being immersed: looking at something wonderful and hearing something wonderful, it’s simple and very sensual. I’ve realised that I’m not really happy unless my own music and visuals are unified in some way. I suppose it’s subconscious, feeling the need to express things visually and musically so that the two entwine. It’s an interesting process when the two cross over.

mechanical bride field

What are the stories you lean towards writing about and what places and moments inspire your ideas the most?
Mainly it depends on the mood I’m in and what imagery I’m seeing. I like travelling a lot and I find that’s an inspirational thing, particularly train journeys. And I collect imagery in a scrapbook. Nature and water are an endless source of inspiration… I guess that’s why I like living where I do, as there is lots of both.

Mechanical Bride Illustration by Joe Collins
Mechanical Bride by Joe Collins.
Why do you think that Transgressive liked your music so much?
I’ve been working with Transgressive since 2005, and at the time there weren’t quite as many female artists as there are now. I was doing whatever weird things came into my head so it must have caught their attention!

Mechanical Bride colour of fire

Any stories from the shooting of the Colour Of Fire video in Berlin? It’s a beautiful video, what’s it about?
It was such a fun video to shoot in such beautiful places. One of the locations was a derelict complex of rehabilitation hospitals for German soldiers in the 1st and 2nd world wars. It had an incredible feel to it, really eerie but full of beautiful ornate colours. The song has a lot to do with dancing and being freed of burdens, ideas of traditional Indian ceremonies with animals and colours.

Colour Of Fire

With the video the concept was to create a dark fairytale/ mythological mood in the forest. There are these spirit-like creatures and you’re not sure if they’re bad or good, but they are otherworldy and dancing through an ominous beautiful space. You are not sure if I am one of them or not and they transform through dance and light and fire.

mechanical bride-karla-perez-manrique
mechanical bride-karla-perez-manrique
Mechanical Bride by Karla Perez Manrique.
What do you do to battle the stage fright?
I am still learning how to deal with it, but having a routine leading up to a performance helps. My friend Caroline who plays with me is good at calming me; she’s taught me some good breathing exercises and mini meditations to do when you start getting the fear. Also no caffeine and eating nuts helps!
What do you hope from the next year?
Well, I’d be happy if we could play some good shows, try and get the music heard in different places we’ve not been to. I’d like to start writing and recording some new music, do some other collaborations with people. Just hope for Good things please!

Categories ,80s, ,90s, ,album, ,Alison Day, ,Avril Kelly, ,berlin, ,brighton, ,Bruce Hornsby, ,classical, ,Colour of Fire, ,Don Henley, ,Faye West, ,Geiko Louve, ,interview, ,Jackie Wilson, ,jazz, ,Joe Collins, ,Karla Pérez Manrique, ,Lauren Doss, ,mechanical bride, ,Music and Visual Art, ,Reet Petite, ,review, ,Sam Parr, ,Transgressive Records, ,Truck Festival

Similar Posts:

Amelia’s Magazine | An interview with Seaming To and review of her new album Seaming

The long awaited solo album by musical maestro Seaming opens with the quietest of hums… (o sing at me) before introducing the listener to the full range of her inimitable operatic style: there are many influences on this album but the one constant is Seaming‘s extraordinary voice. In Sodaslow (sipped) her dulcet tones are backed by strings, in a tune that tracks the journey of a drink. Such idiosyncratic subject matter is typical of Seaming, whose career and musical development has traced an interesting arc, taking in time with such musical luminaries as Herbaliser and Cinematic Orchestra and countless performance related collaborations including an animation for surrealist theatre company Forkbeard Fantasy and soundtracks with the film-maker Michael England. For her third tune it’s out with the strings and in with Moog-ish noodlings for I’m Going To See. Mermaid is an off kilter love story, bleeps and staccato hammerings on Bee evoke the subject with canny musicianship and Strelizia relies on the more traditional use of a clarinet. As her self titled album reaches a finale Seaming draws on her beloved piano to provide a floating voice-less melody for Deer, ending on the clashing slowed beats of Humid.

The album works well as a beguilingly hypnotic whole that can be listened to again and again. I cite as an example: on rotation it was the perfect soundtrack for my journey up to Centre Parcs in Nottinghamshire a few weeks ago.

Seaming by Nicola Porter
Seaming by Nicola Porter.

It’s been awhile! What have you been up to over the past 8 years? Any highlights?
Hello! Oh, I got a bit more wrinkly, bit more wiser, bit more silly, and have finally returned to my place of birth, a familiar yet completely new landscape!

seaming by Reuben Wu
Seaming by Reuben Wu.

You’re both an opera singer and a classically trained multi-instrumentalist – what other musical abilities do you have that helped in the creation of the album?
I recorded most of this at home, in my Womb (my studio),  I would not call myself a whizz engineer, but I am happy to sit and tweak and listen, so quite a bit of the album was mixed at home also.

Seaming by Jacqueline Valencia
Seaming by Jacqueline Valencia.

What instrument do you always return to when you’re creating songs?
The piano.. usually my mother’s Steinway at her house..

You’ve excelled in the more experimental zones of classical and avante grade electronic music – what attracts you to a particular piece or type of music?
Have I?! What attracts me to a piece of music, how sonically it touches; a solo instrument; the melody; or orchestral harmony: textures, structures; otherworldy electronic sounds: words that trigger imagination, emotion; and how it manifests physically (I threw up after a friend’s gig once..)

Seaming To by Shy Illustrations
Seaming To by Shy Illustrations.

What inspired the lyrics and feel of your new album?
The feel, well, I had not planned to make it feel a certain way. inspiration? They are love songs, inspired by people events dreams, songs to trees, grinding teeth, dancing, sea sorcerers, lying on your back looking down onto the sea, sitting next to someone you love..

How long did it take to put together and who else were your closet cohorts in its creation?
It took a few years to release, and the closest cohorts include Paddy Steer, Graham Massey, Semay Wu, my mum, my gentleman and Sonia Mangwana.

Your album has an incredibly striking cover, what was the inspiration behind its creation and who made the artwork?
Michael England created the artwork (and all the artwork to my previous EPs, Mermaid and Sodaslow), check him out, I think he’s a genius. He always has a story/narrative behind every image he creates. Someone said recently that the cover artwork looks 70s disco, I am not sure if that was Eng’s intention! For the rest of the album artwork (and there are quite few images, he really went to town with it, which is typical Michael England) I am sat in my music room in the towers at a place called Mingdom.

It’s been said that your music would work well as the soundtrack to other performances, for instance ballet – is this something you would like to work towards in the future and if so what kind of collaboration would you like to do?
I do love working to narratives, creating music for moving image and have previously been asked make music for films, and theatre. I have not yet worked with dance but would absolutely love to. There are future plans to work with Butoh dancer Sayoko Onishi, based in Sicily.

seaming MINGDOM
In terms of other contemporary artists, who do you enjoy listening to? Any top tips for us to seek out?
Leila, Leon Michener, Andrew Plummer’s World Sanguine Report, Sofia Jernberg and Juice Vocal Ensemble.

What are you up to for the rest of the year? can we see you on tour or similar?
I am preparing for my album launch which will be at Vortex in London (Gillett Square, Dalston, Hackney), with my newly formed band (made up of avant-garde pianist Leon Michener, Double bass player Olie Brice (played with Evan Parker/Mulatu Astatke), and drummer/electronics Tim Giles (Nostalgia 77), what remarkable musicians they are, come down can you? It’s on Thursday 22nd November. We will make a European tour next year too. I shall keep you well informed! Also I am to go on a UK tour, in March 2013, with my mum, pianist Enloc Wu, performing ‘Songs for My Grandmother‘ involving spycorders and vintage electronics, and supported by electronic artist and film maker Kira Kira

The self titled debut album by Seaming is out on Lumin on 3rd December 2012. Hear her Mermaid EP above.

Categories ,Andrew Plummer’s World Sanguine Report, ,Butoh, ,Cinematic Orchestra, ,Enloc Wu, ,Evan Parker, ,Forkbeard Fantasy, ,Graham Massey, ,Herbaliser, ,Jacqueline Valencia, ,Juice Vocal Ensemble, ,Kira Kira, ,Leila, ,Leon Michener, ,Lumin, ,Mermaid, ,Michael England, ,Mingdom, ,Mulatu Astatke, ,Nicola Porter, ,Nostalgia 77, ,Olie Brice, ,Paddy Steer, ,Reuben Wu, ,Sayoko Onishi, ,Seaming, ,Seaming To, ,Semay Wu, ,Sheilagh Tighe, ,Shy Illustrations, ,Sodaslow, ,Sofia Jernberg, ,Songs for My Grandmother, ,Sonia Mangwana, ,Steinway, ,Tim Giles, ,Vortex

Similar Posts: